Adobe AFTER EFFECTS 7.0 - High-Low Pass Effect (Pro Only); To Use Chorus Without Flange (Pro Only)

ADOBE AFTER EFFECTS 7.0
User Guide
386
Adjust the following controls for the Flange & Chorus effect:
Voice Separation Time (ms) Specifies the time in milliseconds that separates each voice. Each voice is a delayed
version of the original sound. Low values are commonly used for flange, and higher values for chorus.
Voices Specifies the number of voices in the processed (wet) audio. Increasing this value applies more of a chorus
effect.
Modulation Rate Specifies the rate in Hz at which the frequency modulates.
Modulation Depth Specifies the amount of frequency modulation.
Voice Phase Change Specifies the modulation phase difference in degrees between each subsequent voice. Invert
Phase inverts the phase of the processed (wet) audio, which emphasizes more of the high frequencies; not inverting
the phase emphasizes more of the low frequencies. Stereo Voices alternates each voice between two channels so that
the first voice appears in the left channel, the second in the right channel, the third in the left, and so on. To hear
stereo voices, you must preview the audio in stereo or render the movie in stereo.
Dry Out, Wet Out Specify the mix of unprocessed (dry) audio to processed (wet) audio in the final output. Values of
50% are commonly used.
See also
“Previewing audio” on page 136
To use chorus without flange (Pro only)
1
For Voice Separation Time (ms), specify a value of about 40. For a deeper chorus effect, increase this value.
2 For Voices, specify 4.
3 For Modulation Rate, specify a value of about 0.1.
4 For Modulation Depth, specify 50%.
5 For Voice Phase Change, specify 90, and then select Stereo Voices. To quickly find an optimal phase change based
on the number of voices you have specified, use the formula P=360/x, where P is the phase change and x is the
number of voices.
6 For Dry Out and Wet Out, specify 50% each. To make voices appear from more than one direction and get louder
over time, select Stereo Voices, drag the Dry Out slider to 0.0 so you hear just the effect, and then set keyframes so
that the voices fade in over time.
See also
“Previewing audio” on page 136
“Using keyframes” on page 192
High-Low Pass effect (Pro only)
The High-Low Pass effect sets a limit above or below which frequencies can pass. The High Pass filter option allows
frequencies above the limit and blocks frequencies below. Conversely, Low Pass allows frequencies below the limit
and blocks frequencies above. Use High-Low Pass to do the following:
• Enhance or attenuate (reduce) a sound. For example, using High Pass can reduce traffic noise, which often is
concentrated at low frequencies, while minimally affecting a voice recording. Using Low Pass can remove high-
frequency sounds, such as static and buzzing.